[David C jones]

Hi Everyone

I stand corrected; the 700 is CCD and not CMOS, and apparently it will do 1080p/30fps. I remember postings, early on, that it wouldn’t do 1080p…maybe Sony was reading them and made some changes…lol

But I don’t get why they would make it do 25p and 30p, and not 24p.

In terms of what to buy, here’s my 2 cents based on some advice I read somewhere else: start at the end; find out the quality level the clients want, and go from there. All to often, we are egar to just buy what we can afford and wind up with gear that isn’t right for the client base we plan on going after.

On another topic, I’ve heard that (as long as you don’t plan on projecting it in a theater) shooting your project at 30p will actually give you more of a film look than 24p.

[David C jones]

Hi Sam-

The PDW700 does do 24p; it doesn’t do 1080p. In other words, the 700 shoots in 1080i or 720p. It does have full raster CMOS chips (1920X1080)and 24 bit audio…a first in video cameras.

The other thing about it is that the compression rate is only 50mbps. If you’re planning on projecting, I would go with a 2k/4k system.

Don is right, it’s geared toward the ENG market. I have heard that the picture is incredible, though; no noise at all!

Dave

[David C jones]

Hi John-

How are you going to be using the cameras? Are you shooting, say, the same event with all the cameras (shooting from different angles), or are you shooting several different events in different locations, each with a different camera?

Dave

[David C jones]

Hi Aynsley-

The HDX-900 shoots on tape. Are they running the siginal out to a hard drive?

Are you talking about 1080i or 1080p? What will it be shot in (1080i, 1080p or 720p)? Bigger is usually better but not always nescessary.

In terms of projection, prints would most likely be done on 2k or 4k and not 35mm film.

Regards,
Dave

[David C jones]

Hi Jenn-

I’m jealous you’re shooting with a 2000 :o)

However, I’m not sure you can do what you are trying to do with it: change the shutter angle. The only two cameras on the market today that will do this, is the HPX-3000, and the Sony EX-1 (believe it or not). For some reason the manual for the 2000 and the 3000 is almost the same, but in the 2000 manual, after the word HALF there are no shutter angle numbers like there is in the 3000 manual. Also in the specs. the 2000 doesn’t list the ability to do it ether.

Sorry about this; as someone who also shoots film I know what you’re trying to do but hopefully you will be able to acheive the look you want in another way.

Regards,

Dave

[David C jones]

Hi Jan,

Thanks for clearing it up :o) I always thought they had adopted Panasonic DVC Pro (when it came out) but maybe that’s not the case anymore(?)

[David C jones]

I’m not sure anyone is doing much outputting to film anymore. The studios have gone to 2k and 4k digital for “prints” as it were. They will still supply prints on 35mm to theaters who haven’t switched over to a DCP, but that will come to an end soon, too. Of course, maybe someone with more insight into this will post here.

Some info from wikipedia: according to the Digital Cinema Intiatives specification for audio, is broadcast wave format at 24 bits and 48kHz or 96kHz sampling (as I understand it, this is for projection).

[David C jones]

Don’t get Ty started on bit depth…lol!

As far as I believe, 24bit 48kHz is standard.

The funny thing is that (as of right now) there are no video cameras that record audio higher than 16bit; only portable hard drives. As Ty will gladly point out, there is a big difference in sound quality between 16 and 24.

[David C jones]

It looks good, though, make sure it isn’t rubbing against you. Based on what you’re doing, you shouldn’t have to tape the cable down unless you find you’re getting noise from it. What you might want to do is make a 1″ loop in the cable a couple of inches from the mic and secure it with string or tape. Again, you can see how at equipmentemporium.com and look it up under the “articles on sound”.

[David C jones]

That’s an earpiece for IFB. News reporters and anchors use them to hear the off-air broadcast and cues from producers when doing live shots for the news or sports.